Carolyn McKenzie-Craig in 'The deviant woman: mechanisms for leaning '
to Oct 1

Carolyn McKenzie-Craig in 'The deviant woman: mechanisms for leaning '

 Carolyn McKenzie-Craig,  Line Ups of My Life,  2016, charcoal drawing, 260 x 100cm

Carolyn McKenzie-Craig, Line Ups of My Life, 2016, charcoal drawing, 260 x 100cm

Carolyn Craig’s work reflects her research within the coded construction of subjectivity and relates this to ideas of the performance of self and the sustenance of gendered typologies. These investigations focus on inscriptive performance as an active form of power and social control. Craig deconstructs particular gestural actions which she has identified as demonstrating specific power differentials by utilizing her own body as the site of absurd action .The performative traces of these gestures is recorded and inverted to query the basis of our everyday selves. The work asks the viewer to consider if these actions are based on biology or the privileging of entrenched systems of power.

Text pieces infiltrate the performative traces and objects as a counterpoint to absurdity and as a navigational device into the subjective position. The materiality of printmaking, drawing and photography are critical to Craig’s attempt to rewrite her subjective position. Each of these mediums contains the trace of self and the potential for active play within processes of inscription, recording, erasing and repeating.


Opening Event: Thursday, 21 September 6pm–8pm
Gallery Hours: Wednesday to Sunday, 10am–4pm; Thursday 12pm–8pm

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abbe 2017 exhibitions – '6th artists' books + multiples fair' and '&So...'
to Jul 9

abbe 2017 exhibitions – '6th artists' books + multiples fair' and '&So...'

  • QCA Library ('&So...') and Project + WEBB Galleries (artists’ books + multiples fair) (map)
  • Google Calendar ICS

7th - 9th July – artists’ books + multiples fair at Project and WEBB Galleries

Discover the book re-imagined by more than 50 artists in the upcoming 6th artists’ books + multiples fair presented by grahame galleries + editions at the Queensland College of Art, Grey Street, South Bank from Fri 07-Sun 09 July 2017.

3rd - 28th July – &So... at the QCA Library

The fair is being held in conjunction with &So…, an exhibition of artists’ books from The Centre for the Artist Book - grahame galleries + editions and the Queensland College of Art (3rd -28th July) at the QCA Library

abbe 2017 website


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Annique Goldenberg in 'Remoulding the Landscape'
to Aug 2

Annique Goldenberg in 'Remoulding the Landscape'

  • White Box Gallery Gold Coast (map)
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 Remoulding the Landscape detail – Annique Goldenberg

Remoulding the Landscape detail – Annique Goldenberg

MVA candidate Annique Goldenberg presents an exploratory installation of her practice-led relationship with her materials. An affinity for water in its many forms, particularly melting ice, has become Annique Goldenberg’s primary material of research, viewing it as a metaphor for both her art and life practices, as well as for the ephemeral nature of existence. At the core of her process-led practice is the aleatoric mark; the strategy of allowing chance to enter the creative process. Actively encouraging this strategy, Goldenberg works in partnership with materials and their environment, responding to their transformative outcomes over time.

Working with the properties of ink soaked melting ice, gravity and time, Goldenberg is interfering with crushed large scale monoprints on heavy weight, momigamied1 paper. The ink finds its own way through the folds and wrinkles finally settling on the Hahnemuhle paper placed underneath. Once dry, the large-scale work is unfolded, creating a sculptural terrain of peaks and valleys, revealing the path of the water. There is a tension in the paper as it holds its shape, a sense of contraction as the memory within the fibres pull in on themselves, reforming after the influence of the artist’s actions. The revealed drawing underneath holds the memory of the ‘run-off’, just a dry mark remains, the water evaporated.

Gallery Hours: 9 am – 4 pm, Monday to Friday

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 Sonia York-Pryce in 'utterly (in)appropriate'
to Jul 14

Sonia York-Pryce in 'utterly (in)appropriate'

  • Whitebox Gallery South Bank, Level 4, Room 4.18 (map)
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  'utterly (in)appropriate' – Sonia York-Pryce

 'utterly (in)appropriate' – Sonia York-Pryce

PhD candidate, dancer, photographer and film maker Sonia York-Pryce presents a visual documentation: utterly (in)appropriate, where she responds to the 8 dancers featured in her film Interprete/inappropriate Behaviour (2015).

By angling the lens to focus the gaze on her corporeality as an older dancing body, she creates a further embodied dialogue of movement; in order to confront the viewer with their preconceived ageist expectancies. She invites discourse on an ageing practice without limitations.

The exhibition is curated by Dr Kelly McIllvenny

Exhibition Dates: Monday, 3 July – Friday, 14 July

Closing Event: Thursday, 13 July 6-8pm

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Michelle Mansford in 'Up Close with Distance'
to Jul 16

Michelle Mansford in 'Up Close with Distance'

 Michelle Mansford

Michelle Mansford

Up Close With Distance explores contemporary representations of space in painting. Drawing on the history of the window in painting as a point of departure, Michelle Mansford engages with ideas of interiority and exteriority. This collection of paintings makes use of such visual phenomena as the ambiguous space of reflections and up-close views of historical paintings seen at the point in which the illusory image disseminates to abstraction.

Painting what she considers an unstable space of possibility, Up Close With Distance describes a space of multiplicity where abstraction and illusion exist not as separate entities, but as co-existing visual systems of representation.

This exhibition forms part of Mansford’s DVA submission for examination at the Queensland College of Art, Griffith University.

Closing Event: Thursday, 13 July 6pm-8pm
Exhibition Dates: Wednesday, 28 June – Sunday, 16 July

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Catherine Large and Elizabeth Shaw in 'Why Jewellery'
to Jun 24

Catherine Large and Elizabeth Shaw in 'Why Jewellery'

Why Jewellery is a collaborative project involving students, staff and graduates from the Jewellery and Small Objects Department at Queensland College of Art Griffith University Australia and the Jewellery Department at Hong Kong Baptist University Hong Kong. 

Following meetings in Hong Kong in 2014 Dr Ching Sze Yin, Cicy, lecturer of jewellery at Academy of Visual Arts, Hong Kong Baptist University, and Elizabeth Shaw Convenor of Jewellery and Small Objects at Queensland College of Art Griffith University decided to develop an exhibition to show at both of our institutions. 

We identified similarities between our studios and approaches and were keen to develop a dialogue between our students and graduates and saw the 2015 exhibition as a way to do that.

The people invited to exhibit were asked to respond to the question "Why Jewellery? Meaning, why do you make it? Why is it the focus of your arts practice?" 

The first Why Jewellery exhibition opened at HKBU in the Koo Ming Kown Exhibition Gallery Hong Kong in May 2015. It then toured to the Webb Gallery at Queensland College of Art Griffith University later that year.

Why Jewellery features selected works from current BFA students and recent graduates (up to three years out from Queensland College of Art Griffith Unviersity and Hong Kong Baptist University).  In 2017 the second exhibition in the series will open in Brisbane in June before touring to Hong Kong. 

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Mika Nakamura-Mather in 'The Floating Word'
to May 14

Mika Nakamura-Mather in 'The Floating Word'

  •  WEBB Gallery and Project Gallery, QCA (map)
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 Mika Nakamura-Mather “The Floating Word”

Mika Nakamura-Mather “The Floating Word”

Mika Nakamura-Mather has spent much of her life away from her homeland of Japan, living, working and travelling extensively in Europe, Asia and Australia. Her work draws from the present and the past to examine the role memory plays in our notions of home, and traces how it may influence our emotional responses to geographical and cultural dislocation.

The Floating Word uses cultural iconography that is relevant to her in ways that encourage the individual to reflect on their own ideas about what ‘home’ means to them.

This exhibition forms part of Nakamura-Mather’s DVA submission with the Queensland College of Art.


Opening Event: Friday, 5 May 2017, 6–8.30pm

Venue: WEBB Gallery and Project Gallery, QCA, 226 Grey Street, South Bank

Gallery Hours: 10 am – 4 pm, Tuesday to Saturday

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Daniel Della-Bosca in 'Unravelled Histories'
to Apr 15

Daniel Della-Bosca in 'Unravelled Histories'

Daniel Della-Bosca, The Poetics of Chaos, 2017, animation still

Daniel Della-Bosca’s practice is concerned with the dialogue between the real and unreal, the actual and virtual, materiality and fiction. The images and objects within this exhibition navigate correlations between geometrically ‘complex’ structures (created in software using algorithmically or parametrically driven forms), and naturally occurring form.

These complex structures begin as formula and in the case of the three dimensional artefacts, sometimes can be actualised through processes of 3d printing. Other structures are bound to the virtual realm and are often better explored through their processes of formation or their unravelling. These forms that are perceived to be ‘chaotic’ can reveal their complex order as they are rendered over time.

Opening Event Friday, 7 April 2017, 6–8pm

Gallery Hours: 10 am – 4 pm, Tuesday to Saturday

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 Anastasia Tyurina in 'H20+'
to Apr 16

 Anastasia Tyurina in 'H20+'

Anastasia Tyurina 'Brisbane River' 2016, Digital mixed media

Anastasia Tyurina’s visual art project involves aesthetic approaches to scientific photography made by a Scanning Electron Microscope (SEM), a tool that has expanded the boundaries of observation and representation of the micro world since it was introduced to scientific research in the mid-1960s. Scientific photography is commonly perceived as a way of recording scientific data through techniques such as photomicrography, high-speed photography, time-lapse photography, x-ray photography, aerial photography and many other photographic techniques. 

By exploring the interplay between the indexical and iconic modalities in the process of creating photomicrographs, Tyurina seeks to imbue them with new meanings and re-appropriate scientific photography as a creative practice and a source of science communication to the general public. Specifically, this project investigates the reinterpretation of photomicrographic images of micro-scale drops of water made by the Scanning Electron Microscope after evaporation, and thus turns scientific photography into an art form.

Tyurina’s practice aims to draw attention to the qualities of water through enhanced visual details that aid in the interpretation of, and differentiation between, water samples. Building on the fact that scientific tools have brought new ways of seeing the world, the artistic application of them seeks to extend our perception. An aesthetic engagement with photomicrography gives viewers the possibility to see in the particular configurations of inherent features of water a horizon of meaning that was previously unseen as well as it refers to a creative ability to observe natural phenomena over and beyond the directly visible.

Opening Event: Saturday 1st April 4 - 6PM

Gallery Hours: Wednesday to Sunday, 10am-4pm, Thursday, 12pm-8pm

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t h e  i m p r e s s i o n  o f  o u r  a r t e r i e s
to Apr 1

t h e  i m p r e s s i o n  o f  o u r  a r t e r i e s

  • Woolloongabba Art Gallery (map)
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 t h e  i m p r e s s i o n  o f  o u r  a r t e r i e s    an exhibition co-ordinated by Debra Porch

t h e  i m p r e s s i o n  o f  o u r  a r t e r i e s    an exhibition co-ordinated by Debra Porch

This exhibition highlights 14 women artists Debra Porch has worked with since arriving in Brisbane in 2003.

The impression of our arteries is an exhibition that questions how the heart and the mind convey significant and revealing impressions and intentions through objects, images and the senses. It reflects the circulatory patterns between those one loves, and the feelings, senses, intuition, perception, influence and the impressions that are formed from these bonds. 

- Debra Porch

Caitlin Franzmann, Sonya G. Peters, Robyn Daw, Ali Bezer, Jay Younger, Julie-Anne Milinski, Debra Porch, Mona Ryder,
Sophie Bottomley, Elizabeth Shaw, Kat Sawyer, Chantal Fraser, Leena Riethmuller, Carol McGregor, Victoria (Tor) Maclean

opening event
Saturday 11th March afternoon 3pm – 6pm
(to be opened by Kim Machan, MAAP)

discussions by the artists
Saturday 18th March 3pm – 5pm

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Sara Irannejad in 'Ambiguous Patterns'
to Apr 22

Sara Irannejad in 'Ambiguous Patterns'

Ambiguous Patterns-Invitation card.jpg

Sara Irannejad is a Brisbane based multi-disciplinary artist working across painting, pyrography, installation and video. She is currently undertaking a Doctor of Visual Art at Queensland College of Art. 

Ambiguous Patterns, a solo exhibition showcasing recent works by Irannejad as part of her ongoing PhD research. The exhibition will be held at Logan Regional Art Gallery and includes works across pyrography, installation, painting and video. These body of works are inspired by cultural aspects of Irannejad's Iranian background and fragments of Australian history and nature.

Irannejad migrated to Australia in 2012 and found her journey and her dual citizenship an inspiration to her art practice, expanding especially concepts like ‘belonging’, ‘place’ and ‘nostalgia’. By drawing on her Iranian roots and juxtaposing images with fragments of Australian history and nature, her works offer new perspectives beyond the boundaries of politics and nationalities, nurturing cross-cultural interconnections and conversations.

Ambiguous patterns invites viewers to explore interconnections between lived experiences, fresh explorations and yet to come possibilities, creating a sense of ambiguous patterns of life.

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Robert Andrew in 'Our Mutable Histories'
to Jul 16

Robert Andrew in 'Our Mutable Histories'

Museum of Brisbane has commissioned three new works for our current exhibition Robert Andrew: Our mutable histories .

Robert Andrew is a Brisbane-based Indigenous artist and descendant of the Yawuru people of the Broome area in the Kimberley, Western Australia.

Robert uses contrasting materials of natural ochres, oxides and chalks alongside contemporary technologies. Playful kinetic machines allow water and ochre to create ever-changing textural landscapes and reclaimed materials are beautifully transformed in his works.

Through his art practice and cultural duality Robert uncovers, reveals and re-presents aspects of Australian Indigenous history and his own family history which have previously been denied or hidden.

Robert Andrew: Our mutable histories public programs include artist tours, talks and workshops. Exhibition is open until 16 July 2017.

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Susan Gourley, Sally Molloy and Cosima Scales in 'Empathy Toward Plants'
to Mar 12

Susan Gourley, Sally Molloy and Cosima Scales in 'Empathy Toward Plants'

Empathy Toward Plants explores the potential for the gallery space to act as a greenhouse for subtle activism. Connection to place, ecology and conceptions of a nature/culture rift are explored via interdisciplinary practices of sculpture, painting and assemblage. With these varied methods, three emerging Australian female artists will employ motifs of flora and other natural phenomena to navigate the fragility of human relationships with nature.

Susan Gourley
Sally Molloy
Cosima Scales

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Emma Rochester in 'In Her Hands'
to Mar 5

Emma Rochester in 'In Her Hands'

 Emma Rochester, C ustom-designed fabric documenting pilgrimage to the Black Madonna Icon at the Monastery of Panagia Hozoviotissa (Grace of Panagia -Virgin Mary) in Amorgos  (Detail) 2014-2016, digital print, 128 x 182 cm  Image courtesy of artist

Emma Rochester, Custom-designed fabric documenting pilgrimage to the Black Madonna Icon at the Monastery of Panagia Hozoviotissa (Grace of Panagia -Virgin Mary) in Amorgos (Detail) 2014-2016, digital print, 128 x 182 cm

Image courtesy of artist

Emma Rochester is a PhD candidate at QCA. She works at the intersections of textiles, video art, drawing and performance and has exhibited widely both nationally and internationally.

Black Madonna shrines, caves, lakes, Neolithic fertility sites and Aphrodite Temples were some of the alternative gendered landscapes of the sacred to which Emma Rochester journeyed in a feminist activist performance for her PhD project.  

Undertaking pilgrimages as research, Rochester translates her embodied experiences and knowledge gleaned into an interdisciplinary mix of textiles, bronze and video for the gallery setting. 

She creates a memorial, a spiritual recreation whereby the performance is undertaken with reference to the past to ensure that God and Earth as woman does not remain reduced abstract male-orientated religious paradigms.


Closing Event, Saturday 4 March 6pm–8pm

Gallery Hours: Wednesday to Sunday, 10am–4pm, Thursday 12pm–8pm


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Sara Irannejad and Vanghoua Anthony Vue in 'Erehwon'
to Jan 22

Sara Irannejad and Vanghoua Anthony Vue in 'Erehwon'

Piyali Ghosh Rite of Passage 2016. Ink on silk.

Thirawut Bunyasakseri
Sara Irannejad
Yoko Lance
Sha Sarwari
Vanghoua Anthony Vue
Tingting Li
Doyoung Lee
Piyali Ghosh

With reference to Samuel Butler’s book ‘Erewhon’ and its particular influence on Giles Deleuze’s construction of ‘nomadism’ and his concept of ‘difference’, the title of this exhibition is a re worked spelling of the reversed word ‘nowhere’, that evokes both the passage from the distributed, migrated space of the refugee / traveller and the imaginary, transformed and always multiple reception at the site of destination /arrival.

Viewed from the unique cultural perspective of the multi-lingual international student (occupying as they do a doubled register, both valued and demonised at the site of reception) they are both a source of nationally significant economic earnings and an apparent cultural resource. For the student this situation presents as a non-place of impossible purchase and one that is dominated by the invisible doppelganger of displacement. They are ‘here and there’ simultaneously, an intensely personal cultural experience of longing and not belonging. This inclusion / exclusion dichotomy directed at the international student is constituted by the mono-lingual host as both a desire and a threat. As signifiers of cultural difference the international student harbours within their displacement the persistent memory presence of their culture of origin while adopting and adapting the values of their site of reception / destination.

Associate Professor and Exhibition Curator, Donal Fitzpatrick

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Susan Gourley in 'You, Me and a Cup of Tea'
to Mar 19

Susan Gourley in 'You, Me and a Cup of Tea'

  • Bundaberg Regional Art Gallery (BRAG) (map)
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Beverley Budgen Wedgwood Cup 2005. Oil on canvas.

You, Me and A Cup of Tea pays homage to the role that tea plays in our daily lives. The simple cup of tea can be consumed in many ways and in a variety of situations. How do you take your tea? Milk and sugar or perhaps lemon and honey? Do you have to have a biscuit with your tea or do you prefer a slice of cake to accompany? Is tea simply a hot beverage in the afternoon? Does it conjure fond memories of a childhood tea party or maybe you sipped tea from fine china while playing cards with your grandmother?

Curated by Zoe Blandford

Beverley Budgen
Denise Faulkner
Susan Gourley
Kim Schoenberger

together with selected artists from the Bundaberg region.

Exhibition Opening: Friday 3 February 5:30pm

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Elizabeth Shaw, Alicia Lane and Catherine Large in 'Radical Jewellery Makeover'
to Dec 22

Elizabeth Shaw, Alicia Lane and Catherine Large in 'Radical Jewellery Makeover'

 Robyn Pell

Robyn Pell

Over the last couple of months, student and professional jewellers have been working with donated jewellery transforming it into new, radically fresh and responsible pieces. The Radical Jewellery Makeover (RJM) is a travelling community education project and an initiative of Ethical Metalsmiths. It is a fun, fast-paced project that educates jewellers of all levels about the mining and material sourcing issues involved in jewellery making. RJM draws attention to the creativity and skills of local jewellery designers, reveals the stories behind our personal collections and encourages re-consideration of our habits of consumption.

Vivien Bedwell
Alison Bruce
hloe Healey
Kathryn Kerswell
Alicia Lane
Catherine Large
Megan MacKenzie
Helen Moriarty
Robyn Pell
Nellie Peoples
Juliana Platt
Clare Poppi
Kierra-Jay Power
Sean Prentis
Lynda Shale
Elizabeth Shaw
Melissa Stannard
Katie Stormonth
Mia Wells
Xiaohui Yang

Opening Event: Wednesday, 14 December 2016, 6–8pm
Gallery Hours: 10 am – 4 pm, Tuesday to Saturday

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Jude Roberts in 'Curators in Space: Shift'
to Jan 20

Jude Roberts in 'Curators in Space: Shift'

  • Judith Wright Centre for Contemporary Art (map)
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 Chris Bennie  When Will We Ever Be Together Forever  2015. Still from video with audio.

Chris Bennie When Will We Ever Be Together Forever 2015. Still from video with audio.

Shift is an investigation into the continuity of change. For millennia humankind has witnessed change within natural and man-made environments, within the global community and, perhapsimperceptibly, within the individual. Simultaneously both reliable and unpredictable, the only constant on which we can be certain is humanity’s capacity to adapt.   

This exhibition brings together artists whose works explore the various faces of change, from the transformative to the destructive. When shown together the work of Duke Albada, Chris Bennie, Joachim Froese, Sharmila Nezovic and Jude Roberts invites the viewer to consider the ever expanding meanings and interpretations of what it means to shift.  

In a world where metamorphosis is commonplace, change can be thrilling and can also inspire dread.  Only time is able to dictate which way we will shift.

Duke Albada
Chris Bennie
Joachim Froese
Sharmila Nezovic
Jude Roberts

View the exhibition resulting from Flying Arts’s Curators in Space program. This exhibition features the works of Duke Albada, Chris Bennie, Joachim Froese, Sharmila Nezovic and Jude Roberts.

The exhibition has been curated by the 2016 Curators in Space participants - Zoe Blandford, Gillian Jones, Jo Kaspari and Emma McLean.

This exhibition is presented as part of our Brisbane Shopfront Exhibitions Program. View all Brisbane shopfront exhibitions.

Exhibition Launch

Time: 5:30 pm – 7:30 pm, 8 December, 2016
Venue: Judith Wright Centre of Contemporary Arts
Cost: FREE


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Robert Andrew and Simon Degroot in 'Collectibles V'
to Jan 8

Robert Andrew and Simon Degroot in 'Collectibles V'

  • Spiro | Grace Art Rooms (map)
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 Michelle Eskola  Permanent. Impermanent.  2016. Dry pigment on board, 14 x 14 cm Dana Lawrie Squish 2016. Oil on ply with glazed plaster frame, 14 x 14 cm James Barth Soft 2016. Oil paint on ply, 28 x 21 cm.

Michelle Eskola Permanent. Impermanent. 2016. Dry pigment on board, 14 x 14 cm
Dana Lawrie Squish 2016. Oil on ply with glazed plaster frame, 14 x 14 cm
James Barth Soft 2016. Oil paint on ply, 28 x 21 cm.

 Robert Andrew  Buru  2016. Ochres oxides, binders on board, 120 x 120cm.

Robert Andrew Buru 2016. Ochres oxides, binders on board, 120 x 120cm.

 Simon Degroot  Flower  2016. Oil on canvas, 61 x 76 cm.

Simon Degroot Flower 2016. Oil on canvas, 61 x 76 cm.

As 2016 draws to a close we would like to take a moment to look both ways – back at the successful year gone by and forward to the exciting road ahead. This year we launched our inaugural residency with two up and coming artists, hosted a range of vibrant online exhibitions, and delivered a selection of ambitious exhibitions in our beautiful Spring Hill gallery. As such, Collectibles V features a selection of artists from 2016 and introduces our 2017 program.

The exhibition features work by:

Chantal Fraser
Michelle Eskola
James Barth
Svenja Kratz
Gerwyn Davies
Franz Ehmann
Catherine Parker
Simone Eisler
Yannick Blattner
Robert Andrew
Nicola Moss
Simon Degroot
Camille Serisier
Bridie Gillman
Jan Van Dijk
Dana Lawrie
Sue Beyer

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to Dec 17

Pamela See, Julie-Anne Milinski and Elizabeth Shaw in 'BLINDSIDE CURTAIN CALL | 1000 2000s SOAP'

 Image sourced from the Australian Archives, Sydney Stock Exchange, 1970.

Image sourced from the Australian Archives, Sydney Stock Exchange, 1970.

CURTAIN CALL brings together works by artists who have previously exhibited at BLINDSIDE. 

Aly Aitken
David Akenson
Santina Amato
Rachel Ang
Jessie Angwin
Beth Arnold
Nick Ashby
Eleanor Avery
James Avery
Jill Barker
Selina Braine
Merric Brettle
Kiera Brew Kurec
Michele Burder
Ben Byrne
Kate Cotching
Bridget Currie
Anna Daly
Jared Davis
Julia Davis
Clare Humphries
Zoe De Luca
Rehgan De Mather
Kim Demuth
Hazel Dooney
Daniel Dorall
Craig Easton
Kel Glaister
Katya Grokhovsky
Michelle Hamer
Jim Hart
PJ Hickman
Stephanie Hicks
Joyce Huang
Amanda Johnson
Lisa Jones
Dena Kahan
Helen Kelly
Anusha Kenny
Susan Lincoln
Michael Lindeman
Natalya Maller
Amy Marjoram
Jessica McElhinney
Pamela See
Julie-Anne Milinski
David Mutch
Kirsten Perry
Debra Porch
Clare Rae
Steven Rendall
Mandy Ridley
Dunja Rmandic
Susan Robb
Giles Ryder
Elizabeth Shaw
Tai Snaith
Lisa Stewart
Andrew Tetzlaff
Jade Venus
Paul White
Jordan Wood
Sary Zananiri

1000 2000s SOAP uses the curatorial position to examine the role of the artist in relation to the gallery and the channels of exchange between artist and institution. Using a ‘call and response’ method of curation, SOAP contacted all artists who exhibited at BLINDSIDE in the years 2004-2009, inviting them to participate in CURTAIN CALL. Being the first 5 years of operation for BLINDSIDE this period was selected by SOAP out of a curiosity to consider the shifts brought about with the new millennium, in relation to the politics of artistic production and participation.

The ‘call and response’ method addresses the challenges of working artists in Australia: the networks formed inside and outside the internet, the scarcity of cheap gallery space and the sparse public and private funds to remunerate artists. S.O.A.P’s curatorial premise brings this exhibition as a form of a democratic collective action. Artists’ diverse but complementary responses range from concepts commenting on art and language, economy of space and time, to visibility, identity politics, individualism and isolation in the digital age.

Opening Night | Thursday 8 December, 6–8pm

SOAP (State of Art Platform) is a collection of artist and writers founded in early 2015, with members contributing from Melbourne and internationally. In the last two years SOAP have been working to create a platform for discussion between artists, researchers, experts and writers in the public domain. SOAP aims to challenge the position of the artwork, questioning existing art platforms and the systems in place which surround the gallery environment. SOAP brings a fluid set of propositions with each assertion to engage social and political current affairs and the current state of art, broadening the possibilities for the intersection of image and language across disciplines.

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Jennifer Andrews 'The Littoral: where water and land embrace'
to Dec 18

Jennifer Andrews 'The Littoral: where water and land embrace'

In her current art practice, Andrews explores aspects of perception and how this impacts on depiction in the drawing process. The subject matter is the urban littoral zone of the Brisbane River. Through extensive manipulation of the source material, the artist seeks to engage the viewer more deeply with the subject matter.

Opening Event: Saturday 10 December 2–4pm
with guest speaker Dr William Platz, Artist and Lecturer in Drawing, QCA

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Robert Andrew, Louise Harvey, Svetlana Trefilova and Anastasia Tyurina in 'The Creativity of Things'
to Dec 10

Robert Andrew, Louise Harvey, Svetlana Trefilova and Anastasia Tyurina in 'The Creativity of Things'

Digital technology is moving beyond the digital ecosystem, off the screen and into the physical world. The work in the CreateWorld 2016 exhibition, The Creativity of Things, explores the way in which different practitioners have engaged with technology, objects, physical experience and the limits of the seen and unseen worlds. Works range from interactive objects to investigative photography of the microscopic world, to projects that combine the two.

The Creativity of Things features artists based in Brisbane and elsewhere, including several U.S. artists represented in video documentation.

Artists include:

Robert Andrew
Jenna Baker
Paul Bardini
Troy Baverstock
Sophie Brueckner
Chris Cassidy
Roland Graf
Louise Harvey
Mav Kenyon
Ross Manning
Phoebe McDonald
Jane Prophet
Svetlana Trefilova
Anastasia Tyurina
Lee Walton
Derek Toomes

Opening Event: Thursday, 8 December 2016, 5:45 – 7:30 pm

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'Drawing Water': DIG Tokyo 2016
to Mar 1

'Drawing Water': DIG Tokyo 2016

In partnership with Brisbane City Council's Urban Design initiative Vibrant Laneways, the DIGTokyo2016 project Drawing Water, co-curated by Pat Hoffie and Linda Dennis, will be installed across five Outdoor Galleries: Eagle Lane, Hutton Lane, Irish Lane, Fish Lane and Giffin Lane.

Comprised of fourteen large illuminated panels and three enormous banners, the public exhibition will feature the work of nineteen Australian and Japanese artists who participated in an intense ten-day workshop in Tokyo. The work will be opened at the start of December and remain installed for three months. Wayfinding will be incorporated into the work to direct the public to all of the Drawing Water sites and also point to the online publication.

See Drawing Water: a cross-cultural, cross-institutional collaborative project in this Bulletin.

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Julie Fragar in 'The Tidal: City of Devonport National Art Award Exhibition'
to Jan 29

Julie Fragar in 'The Tidal: City of Devonport National Art Award Exhibition'

  • Devonport Regional Gallery (map)
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 Julie Fragar  Antonio Departs Flores on the Whaling Tide  2016. Oil on board.

Julie Fragar Antonio Departs Flores on the Whaling Tide 2016. Oil on board.

The Tidal: City of Devonport National Art Award is a biennial, acquisitive award. Artists residing in Australia are invited to submit 2-dimensional artworks that reflect on tidal – the natural, cultural, personal or political concerns related to the sea and coastal regions.

The Award provides a contemporary platform for artists to ponder the myriad perspectives and challenges inherent within the interconnections of land and sea while also encouraging excellence in concept, innovation and execution of 2-dimensional artwork.

The $15,000 Major Award is sponsored by the Devonport City Council and the Devonport Regional Gallery Friends Committee. $1,000 People’s Choice Award is sponsored by Collins Real Estate, Devonport. This is a non-acquisitive award selected by the viewers of Tidal. The Award is announced at the conclusion of the exhibition.

The Award aims to:

  • Encourage experimentation within and across mediums relative to 2-dimensional works of art
  • Present a stimulating and diverse exhibition of contemporary Australian art practice to the Devonport Community and visitors to the region
  • Promote excellence in contemporary visual art that reflects on natural, cultural, personal or political concerns related to the sea, coastal regions and coastal communities

Opening & Award recipient announced: Friday 25 November 6:30 pm

This year’s judging panel consists of two nationally recognised art experts. Jane Devery, Curator of Contemporary Art at the National Gallery of Victoria (NGV) and Jane Stewart, Principal Curator of Art at the Tasmanian Museum and Art Gallery (TMAG). 

2016 Winner

Julie Fragar was presented the $15,000 Tidal: City of Devonport National Art Award 2016 by Mayor Steve Martin for her work Antonio Departs Flores on the Whaling Tide at the 2016 Finalists Exhibition on Friday 25 November. Antonio Departs Flores on the Whaling Tide is a richly layered painting that contains multiple images and references. The Brisbane-based artist, Julie Fragar, made the work after travelling to the Azores Islands in Portugal. Here, her ancestor Antonio, aged 12, ventured onto a whaling ship in 1850 – arriving in Australia 6 years later.

“Julie’s painting captures the wild adventure in a way which brings the present and the past together. The historic narrative reminds us of the continuing patterns of migration that reflect Australia today and is a compelling response to the ‘tidal’ theme.” said Tidal 2016 judges Jane Stewart and Jane Devery.

2016 Finalists

Diane Allison
Louisa Bufardeci
Janet Bush
Alex Davern
Julie Fragar
Joey Gracia
Helga Groves
Katherine Hattam
Liam James
Anthony Johnson
Amber Koroluk-Stephenson
Michael Muruste
Penny Mason
Sara Manser
Tess Campbell
Troy Ruffels
David Stephenson & Martin Walch
Evelyn Vyhnal
Megan Walch
Matt Warren
Carole Wilson
Anne Zahalka

People's Choice Award

Visit the Tidal: City of Devonport National Art Award Finalists Exhibition and vote for your favourite work. The winning artist will receive $1,000, courtesy of Collins Real Estate, and will be presented in the final week of the exhibition at the Tidal Festival in late January.

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Renata Buziak in 'Thoughts Made Visible'
to Dec 7

Renata Buziak in 'Thoughts Made Visible'

Artists create by making manifest our thoughts on the world, on ideas, feelings and experience. A process that happens both immediately and over many years, our work is an outpouring of various aspects of our observation, research, synergistic correlations and beliefs.

A group show by Renata Buziak, Billy Shannon, Sona Babajanyan, Travis D. Hendrix, Chris Bowes and Henri van Noordenburg.

Travis D. Hendrix

This series of skate decks explores the concept of belonging and delves into how one identifies the attributes that produce a sense of ‘Home’. Created during a period when Travis was between houses himself, uprooted from the ground and drifting from one bivouac to another. The works represent this journey and asks the viewer to consider what it means to be without a place to call home.

Renata Buziak

Gardens play a significant role in the lives of many people. Habitat project focuses on visuals and verbal stories of several residential gardens of Greater Brisbane, Moreton Bay in Queensland, (previously known as Pine Rivers) by Renata Buziak and Lynette Lettic. 
A selection of Renata's works included in this exhibition were developed by an experimental photographic process the 'biochrome', which she has been developing over the last decade. By fusing organic and photographic materials subject to natural process of decomposition, flora collected from each garden was used to create these works. After a period of several weeks 'exposure', traces of the plants and micro organic activities are captured in biochrome images representing each garden.

This project was documented via a dedicated blog to reflect the process and progress, from meeting with participating gardeners, to preparing for the exhibition. Accompanied by a catalogue the aim of this project is to offer viewers an insight into the gardens, the people and the stories that were shared. 

Chris Bowes

"I Feel Like I Know You uses social media to examine the life of a stranger, taking the pages they have liked on Facebook and creating a mosaic of one of their profile pictures. 

Through the process of cutting and assembling the pieces a connection is created between this man and the artist, the tiles revealing more aspects of their personality as the work is made. The result is a feeling of familiarity with the subject, the installation giving an insight into their life, but lacking the authenticity of the real human behind it."

Billy Shannon

I love sleep and the world of dreams. It is variously a time of repair, mental and physical digestion, and sometimes inspiration.

The Sleep series is an exploration into the ‘soul’ of the sleeper and the source of dreams. Where they go what energies move them. The inspiration for this comes from early memories of watching my mother sleeping, watching the dark shadows of dreams float around her eyes.. 

Over the past 2 years, I have been working with several of Brisbane’s leading contemporary circus and dance performers on a series of paintings exploring their thoughts, feelings and relationships to sleep. The contrast of these highly active people, in repose fascinates me and I have tried to reflect how that even their corporeal forms seem dissipate as their minds drift into sleep. 

Sona Babajanyan

Art for me is the best way to understand the world and myself, a kind of inner conversation or meditation. This selection of work is an exploration of a human being’s inner world as it intersects with the mysterious forces of nature and universe. Colours and lines, shapes and textures, forms and faces are the means to express and capture these deeper movements, my attempts to bring without what lies within, inviting the viewer to reflect on this connection between the inner and outer universes.

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Catherine Large and Alicia Lane in 'Trace'
to Dec 3

Catherine Large and Alicia Lane in 'Trace'

  • Woolloongabba Art Gallery (map)
  • Google Calendar ICS
 Helen Moriarty  Living Trace  2016. Photography by Faun Photography. 

Helen Moriarty Living Trace 2016. Photography by Faun Photography. 

An exhibition focusing on the ways we leave an imprint on our surroundings, marking our existence. Contemporary jewellery from the Jewellers and Metalsmiths Group of Australia (Queensland Chapter) Inc. in 2016.


Jan Brown
Jo Rees-Jones
Renata Fojtikova
Penny McIntyre
Maree Heard
Angela Rawlins
Vivien Bedwell
Adele Grobler Dellit
Jesika Dawnn
Helen Wyatt
Paola Raggo
Mia Wells
Chloe Healy
Catherine Large
Lisa Brown
Saskia Levy
Pierina Curties
Minna Jun
Katie Stormonth
Nellie Peoples
Clare Poppi
Alison Bruce
Ann Chadwick
Kathleen Hunt
Helen Moriarty
Megan MacKenzie
Jandy Pannell
Vanessa Williams
Emma Clippingdale
Robyn Pell
Juliana Platt
Alicia Lane
Andy Lowrie

Opening event: Friday 25th November 6pm–8pm

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Ross Woodrow 'Waterworks'
to Dec 3

Ross Woodrow 'Waterworks'

 Ross Woodrow  Sydney Water and the Garden Palace,  2016,   embossed aluminium with fabricated elements in copper, brass and silver,  100 x 60 x 7 cm.

Ross Woodrow Sydney Water and the Garden Palace, 2016, embossed aluminium with fabricated elements in copper, brass and silver,  100 x 60 x 7 cm.

An exhibition by Ross Woodrow exploring the aesthetic imperatives in the conquest and control of water. Woodrow takes a distinctly post-Duchampian and postcolonial perspective which pays due homage to the European tradition of the fountain without neglecting the Antipodean contribution to plumbing and aesthetics.  

Professor Ross Woodrow is the Director of the Griffith University's Centre for Creative Arts Research (GCCAR). 

In April 1917 the French artist, Marcel Duchamp, engineered a press scandal in New York by submitting a store‐purchased urinal under the title of “Fountain” to an art exhibition. His only autographic contribution to the porcelain urinal was the addition of a painted signature, “R. Mutt.” Perhaps to insinuate the superiority of the European intellectual tradition, he justified this act of creative selection or readymade art with the statement: “The only works of art America has given [the world] are her plumbing and her bridges.”

Please join us for drinks with the artist Friday 18th 6:30 – 8:30 pm

These Waterworks were inspired by a series of etchings showing designs for fountains by the French designer Jean le Pautre (1618 – 1682). As far as I know, none of these fountains were ever built, although elements such as the dolphins and sea horses are common currency in fountains across the world. My first inclination to develop variations of these into large contemporary etchings using shaped copper plates, with embossing creating some sense of three-dimensionality, floundered on the fact that they would remain a direct etching-­to-­etching translation. Needless to say the next move to remove paper from the equation led to the evolution of the embossed aluminium technique, which opened up the possibilities that I have exploited here to create objects that don’t comfortably meet a singular definition as printmaking, sculptural fabrication or craft.  
The axiom, applied by Ernst Gombrich among many others, that the more art tried to escape looking like art the more it approached that condition, is no longer secure.  There is probably nothing in digital or material production left in or outside the post medium field of contemporary art, not to mention the realm of the “Internet of Things” that can make the claim not to be art.
The practice I’ve followed in making these Waterworks was the usual mix and match of materials, images and metaphors that will best encapsulate a visceral and aesthetic response to my seemingly simple theme of “fountain”.  I wanted to evoke the profligate folly in the idea of the fountain but also to invert Duchamp’s selection of plumbing as the most remote polarity of non­‐art.
I particularly sought to use the complex conceptualization of the fountain as a working wonder where the viewer suspends the knowledge of the hidden piping, pumps and pressure that makes it all happen as in the case of our own bodily “waterworks”.  The fountain is a fundamentally Classical or European cultural signifier as demonstrated by its embrace by Las Vegas casinos and the fact that the form has limited impact in Australia. The Launceston fountain from 1858, which I’ve included in the exhibition, was an imported copy from the Paris Exhibition, 1855.  The Antipodean associations of Australia with the European fount of civilization and the simultaneous imperial exploitation of the colony’s resources and disregarding of its inhabitants makes for an irresistible emphasis on the underworld.  Much of the fauna that inhabits this world, not unexpectedly, is sourced from the nineteenth-­‐century antipodean version of the scaled-down substitutes for the exotic European fountain – silver epergnes, toast racks, serviette rings and cutlery that could signify civilized dining and cultivated taste while acknowledging that exoticism extended beyond using the fanciful dolphin or seahorse to hold up the shell-­shaped silver salt.
The Antipodean approach to formulating a stylistic aesthetic by substituting Indigenous flora and fauna (and sometimes Indigenous people as well) for Classical inventions in their silver and gold tableware and jewellery was based on a combination of a no-­nonsense attitude and attempts to forge an Australian identity. Only in retrospect can we see that this only reinforced the power of that Classical tradition. Even so, the failure of that enterprise fuels the nostalgia for a time when binary divisions such as civilized/uncivilized, profession/trade, art/non-­art made sense. This is especially so today when it is generally water spouts alone (often with coloured lights) that make the spectacular fountains in cities everywhere. The stylistic vocabulary of the real and invented flora and fauna is mostly gone but of course the powerful technology of pipes and pumps that controls all the action remains hidden from view.
- Ross Woodrow

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Elizabeth Shaw in 'Tincal lab Challenge 2016'
3:00 PM15:00

Elizabeth Shaw in 'Tincal lab Challenge 2016'

“All art is autobiographical; the pearl is the oyster's autobiography.” - Federico Fellini

Cinema is one of the arts that probably combines more different kind of artistic expressions: fashion, photography, music, literature...

Either in historical or futuristic movies, born from invented universes or based on true events, jewelry can shine in cinema in various ways, being a single prop or the motto of the whole story.

Like fashion it can be one of the most striking ways to characterize a character, convey the spirit of a time or place, dictate trends – just think of characters like Cleopatra, Anna Karenina, Diana and Grace of Monaco, or even movies with intense environments like “Moulin Rouge” or “The Great Gatsby”.

Impossible to dissociate the film “Breakfast at Tiffany's” from the necklace of pearls worn by Audrey Hepburn or diamonds, considered by Marilyn Monroe as a girl´s best friend, of “Gentlemen Prefer Blondes”. Other times it's a piece of jewelry that dictates the course of the plot, as the ring in the trilogy of “Lord of the Rings”, the earring of the painting that inspires “Girl with a Pearl Earring” or the diamond Heart of the Ocean in “Titanic”.

Synonym of wealth and status, jewelry may give rise to envy, theft and betrayal.

While symbolic object is able to transmit memories, make commitments, reveal passions.

But we don’t want the source of inspiration to be merely formal, all the imagery of a film may itself inspire a jewel: the desert sands of “The English Patient” will surely inspire different jewelry from the surreal fantasy of “Alice in Wonderland” or the black universe of “Batman”.

We invite authors to feel inspired by their favorite movie and create jewelry able to carry us to the magical world of cinema!



With the main objective to show the quality and diversity of contemporary jewelry, opening its doors to the general public, we invite jewelers from different countries and lines of work to integrate an event of exhibition and sale, to be held at Tincal lab (Porto, Portugal), before the end of 2016. The exhibition will be accompanied by the publication of a catalog, presented on the date of opening.

THEME: Jewelry and Cinema

MOTTO: Creation of up to 3 pieces of jewelry up to 100€ each

EXHIBITION: from November 12th to December 31st



Adriana Díaz Higuera
Ana Azevedo
Ana Bragança
Ana Dias
Ana Pina
Ana Ramalho
Aurea Praga
Camilla Mileto
Cristina Barros
Elena Larrén
Elizabeth Shaw
Emese Kovácsová
Fernanda Barba
Garradas Jewellery
Gray Flamingo
Inês Costa
Joana Santos
KIWI on the road
Laura Mallozi
LEÃO Contemporary Jewellery
Letitia Pintilie
Lia Gonçalves
Lieta Marziali
Lija Álvarez
Little Nothing
Marta Costa Reis
Marta Pinto Ribeiro
Melis Agabigum
Olga Marques
Orsolya Nemeth
Polina Dimitrova
Raelene Olson
Rosa Tejada
Silver Lining
Susana Teixeira
Tânia Gil
TINGs Jewellery
Valérie Lachuer

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Gabriella Wilson & Sonia York-Pryce in '#PRIZENOPRIZE'
to Nov 26

Gabriella Wilson & Sonia York-Pryce in '#PRIZENOPRIZE'

Riding along the undercurrents of Turner Prizes, Archibalds and the like, #PRIZENOPRIZE is an exhibition that will champion and democratise art across all media and levels. Think of it as a soft power alternative to the head-churning, nail-biting process that comes with applying for art awards and being shortlisted for the coveted Bachelor rose of the artworld.

There is no award money for #PRIZENOPRIZE. Instead this is an open platform for contemporary and experimental artists (especially emerging artists) across Australia to exhibit at THE WALLS this November -- a prize in itself. 


Guest curator Mariam Arcilla

Opening and announcement of winner: Saturday 12 November 5-8pm

For more info and not-so-fine print:
Follow The Walls on Instagram:

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Ian Burns & Ryan Presley in 'Creative Accounting'
to Feb 26

Ian Burns & Ryan Presley in 'Creative Accounting'

Yves Marchand & Romain Meffre Bagley-Clifford  Office of the National Bank of Detroit 2000 from the series Ruins of Detroit. C-type print. UTS Art Collection. Reproduced courtesy of the artists.

Drawing from alternative currencies, banking archives, and contemporary art, 'Creative Accounting' scratches below the surface of the economic system to reveal money’s enigmatic side. Money is many things at once: an abstract rendering of value; an agent of propaganda; a decorative device. It plays a central role in all of our lives yet is often overlooked as an object of contemplation. At a time when money is becoming increasingly abstract, 'Creative Accounting' speculates on its wider value.

'Creative Accounting' includes work by Conrad Bakker, Ian Burns, Penelope Cain, Joachim Froese, Melanie Gilligan, Fiona Hall, Andrew Hurle, Yves Marchand & Romain Meffre, Daniel McKewen, Christine McMillan, Kenzee Patterson, Ryan Presley, David Shapiro and Abdullah MI Syed; alongside objects from the Museum of Applied Arts and Sciences the Westpac Group Archives, Hawkesbury Regional Museum and various private collections; and ancient coins from The RD Milns Antiquities Museum.

Public Program
Friday 11 November 5.00 pm – 6.00 pm

'Art and value' discussion panel
Join thinkers and artists from Creative Accounting in a conversation around notions of value, exchange and human capital. Featuring: Holly Williams (exhibition curator), Professor Flavio Menezes (UQ School of Economics), and artists Andrew Hurle and Joachim Froese.

Friday 11 November  6.15 for 6.30 pm
to be opened by Professor Iain Watson, Deputy Vice-Chancellor (External Engagement), The University of Queensland.

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